A Quote by Anne Rice
Making a film, I've learned, can be an exhausting process, due to the need for backing, distribution, etc.
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All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.
I think as long as the standard of quality, the story-telling, film-making, acting etc. etc. remains consistent, then you've got a good change of making a decent anthology.
Everyone knows that due process means judicial process, and when John Brennan brings him a list of people to be killed this particular week, that's not due process. That's certainly not judicial process. So there's the fifth amendment. Not even George Bush claimed the right to kill American citizens without due process.
Movie distribution may very well have migrated fully to digital form by then, making a huge dent in the need to print film and physically distribute content.
I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.
If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.
I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
Yahweh demanded justice for the poor, compassion and equality for foreigners and refugees, systemic redress for poverty, structural mechanisms to protect the homeless and family-less from abuse and destitution, fair and equitable distribution of land, integrity in the judicial system, humility, simplicity and morality in the government (as opposed to wealth, women and weapons), etc. etc. If you want that kind of society, you need to be faithful to the living God.
Some have argued that the President is required to get permission from a federal court before taking action against a United States citizen who is a senior operational leader of al Qaeda or associated forces. This is simply not accurate. 'Due process' and 'judicial process' are not one and the same, particularly when it comes to national security. The Constitution guarantees due process, not judicial process.
A film is like a mad arranged marriage, with all these people who don't necessarily want to be with each other forced into this intimate, exhausting process.
There will always be big companies making big movies. But making film and distribution is changing in front of our eyes. I'm not sure what the future holds for this industry.
The uneven distribution of wealth in the world is due to the uneven distribution of capitalism.
Performance wasnt something that I intended to do. I was doing work that was about process, about the meaning of the making, trying to have a love-hate relationship with the object. I always feel safer if I can bring the viewer back to the making of it. I try to do that in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives...that people might relate to in terms of process, everyday activities- bathing, eating, etc.
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